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Shakuntala: A Play by Kalidasa (review)

Shakuntala: A Play by Kalidasa (review) Media Review SHAKUNTA L A : A Play by Kalidasa. Directed by Betty Bernhard, Kailash Pandya, and Sasidharan Nair. Insight Media, 2004. DVD, $159. The latest Insight Media catalogue of non-Western drama identifies this pro- gram as an “Indian play produced in classic Natyshastra [sic] style,” including “authentic music, dance, costumes, makeup, and mudras.” Nowadays, scholars automatically chafe at the use of the word “authentic.” Here, of course, the word is merely marketing-speak. There is no reason, therefore, to expect this program to fulfill the promise. However, the program itself affirms the asser- tion that this demonstrates classic Natyashastra staging, and this is a position subject to complications, which are not acknowledged. As an archival record of a college endeavor, the program fills its function, and it could be used by researchers to study and document the use of Asian techniques in Western theatre training, as we do learn of one project of intercultural theatre training and follow its choices of how Indian materials are adapted into a college-based theatre arts program. But, as a pedagogical resource that gives precise insight into the debate around Sankrit drama, the program lacks depth and clarity, and this limits its usability. This http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Shakuntala: A Play by Kalidasa (review)

Mason, David V. -- (David Vaughn)
Asian Theatre Journal , Volume 24 (2) – Sep 26, 2007
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2007 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

Media Review SHAKUNTA L A : A Play by Kalidasa. Directed by Betty Bernhard, Kailash Pandya, and Sasidharan Nair. Insight Media, 2004. DVD, $159. The latest Insight Media catalogue of non-Western drama identifies this pro- gram as an “Indian play produced in classic Natyshastra [sic] style,” including “authentic music, dance, costumes, makeup, and mudras.” Nowadays, scholars automatically chafe at the use of the word “authentic.” Here, of course, the word is merely marketing-speak. There is no reason, therefore, to expect this program to fulfill the promise. However, the program itself affirms the asser- tion that this demonstrates classic Natyashastra staging, and this is a position subject to complications, which are not acknowledged. As an archival record of a college endeavor, the program fills its function, and it could be used by researchers to study and document the use of Asian techniques in Western theatre training, as we do learn of one project of intercultural theatre training and follow its choices of how Indian materials are adapted into a college-based theatre arts program. But, as a pedagogical resource that gives precise insight into the debate around Sankrit drama, the program lacks depth and clarity, and this limits its usability. This

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Sep 26, 2007

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